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Music in the English masque in the first half of the 17th century

 
dc.contributor Walls, Peter
dc.contributor.author Walls, Peter
dc.date.accessioned 2018-07-27
dc.date.accessioned 2019-07-04T09:49:08Z
dc.date.available 2019-07-04T09:49:08Z
dc.date.created 1975
dc.date.issued 1976-01-01
dc.identifier ota:0820
dc.identifier.citation http://purl.ox.ac.uk/ota/0820
dc.identifier.uri http://hdl.handle.net/20.500.12024/0820
dc.description.abstract Resource deposited with the Oxford Text Archive.
dc.format.extent Text data 600 KB Plain text
dc.format.medium Digital bitstream
dc.language English
dc.language.iso eng
dc.publisher University of Oxford
dc.relation.ispartof Oxford Text Archive Core Collection
dc.rights Distributed by the University of Oxford under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
dc.rights.uri http://creativecommons.org/licenses/by-nc-sa/3.0/
dc.rights.label PUB
dc.subject.lcsh Academic dissertations -- Great Britain -- 20th century
dc.subject.lcsh Masques with music -- 17th century -- History and criticism
dc.title Music in the English masque in the first half of the 17th century
dc.type Text
has.files yes
branding Oxford Text Archive
files.size 604662
files.count 2
otaterms.date.range 1900-1999

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MUSIC IN THE ENGLISH MASQUE IN THE FIRST HALF OF THE SEVENTEENTH CENTURY by Peter Gerard Walls Thesis submitted for the degree of Doctor of Philosophy in the University of Oxford ii ABSTRACT The texts of Jonsonian masques make extensive use of images which derive from speculative music, generally to suggest that under the benevolent and wise rule of the first two Stuarts the British people share in that harmony which pervades the well-ordered workings of the universe. A great deal of music was performed during a masque. This thesis investigates the relationship between the literary use of musical images and the music which was actually performed. The special problems inherent in the way the musical and literary evidence has survived are discussed in the first chapter, and the peculiar relationship between masque writers and composers is explored. The . . .

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